Mistheria - Messenger Of The Gods
Some professional critics write that there are two comparable key-masters (of young generation) in progressive metal. Obviously, I am thinking of Vitalij Kuprij and Giuseppe Iampieri a.k.a. Mistheria. I know that both wizards are in friendly relationships and don't race against themselves to win audience's recognition. Thereby they deserve our reverence.
For a start, I desire to write that Maestro Kuprij and Maestro Iampieri play in different styles, so that means that we can be pleased with two ingenious and outstanding artists. Some of you could hear his "Imperator" solo release, but his name was on fans' and critics' lips after publishing "Messenger Of The Gods" under the banner of great Lars Eric Mattsson's Lion Music. Mistheria cooperated, among others, with the likes of Bruce Dickinson, Rob Rock, Tony Hernando, Vitalij Kuprij, Winterlong etc. But inviting 32 guests on his solo album exceeded all my expectations! Wow, what names appeared on "MOTG"? They are too many to enumerate all of them, but I can't refrain from mentioning well-known axemasters: Alex Masi, George Bellas, Jeff Kollmann, Leonardo Porcheddu, Marcel Coenen, Max Arminchiardi, Ron Thal, Rick Renstrom, Thorbjorn Englund, Tommy Denander, Tony Hernando, Neil Zaza; then three drummers: Anders Johansson, John Macaluso and Michael Von Knorring; still two bassists: Barry Sparks and Matt Bissonette; (I haven't finished yet, haha) and must write about Rob Rock and Hubi Meisel! What a gorgeous Artists Army!
There are waiting 80-minute material for us all, so prepare for a long-distance music marathon, please. The album is opened by majestic and cinematic "Praeludium Opus 71" that shows Mistheria's passion for movie soundtracks and classical music. It isn't strange, because Giuseppe is a graduate from Music Conservatory in L'Aquila. In further compositions we'll easily pick out progpower characteristics, improvisational parts, melodic vocal lines, cornucopia of guitar styles, piano-esque motifs, diverse compositional structures, classicaly inspired interpolations and bombastic orchestrations. If you are a girl/woman, here are waiting Hubi Meisel with his sexy and tuneful voice in climax "Eternity", but if you are a boy/man - here is someone waiting especially for you - soprano voice by Maria Pia Di Gioia in "Witch Of The Demons". Aforementioned guitarists play mostly fast solos in shredding style. Mistheria originally started learning to play the guitar, that's why their key-lines perfectly fit to guitar solos. They are really fast, because keys burn his fingers, haha. Giuseppe is a virtuoso keyboardist who specializes in progressive metal, but I am under an obligation to write that he can also create a cosmic dimension of classical music. The best proof of it is the title composition in which he refers to romantic piano masters in the front of Frederic Chopin. It is also the herald of forthcoming piano solo album. I had also a pleasure of listening to 7-track sampler with new Mistheria's compositions. There are three original numbers, one half-original (inspired by Chopin's output), and three ones of other composers ("Adagio in G minor" by Albinoni, "Capriccio #24" by Paganini and "Asturias" by Albeniz). That material proved that Mistheria is strongly influenced by classical music, but especially by Johann Sebastian Bach's fugues. It is audible in his original tracks in which he applies counterpoint, key turns and combinations of imitations. His fluent fingering can be also heard in tonic-dominant and harmonious relation between theme and response.
On the basis of that sampler, I can guess that Mistheria can be regarded both as a progressive keys ruler and a neoclassical one with no doubt. His music is recommended particularly for those who fell in love with Ring of Fire's, Adagio's and Outworld's releases.